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China and the West: Music, Representation, and Reception

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China and the West: Music, Representation, and Reception Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk. paper) | ISBN 9780472122714 (e- book) Subjects: LCSH: Music—Chinese influences. | Music—China— Western influences. | Exoticism in music. | Orientalism in music. Classification: LCC ML193 .C45 2017 | DDC 780.951— dc23 LC record available at https://lccn.loc.gov/2016045491 Revised Pages For Cho, Zoe, Reese, and mom with love — H- L Y For QI Zhenjun 齐振军, ZHAO Li 赵黎, ZHAO Yan 赵岩, and ZHOU Xiaoping 周小平, all of them new members of my family, as I am a new member of theirs — M S Revised Pages Revised Pages Contents Preface ix Hon- Lun Yang and Michael Saffle Music, China, and the West: A Musical- Theoretical Introduction 1 Hon- Lun Yang Part 1: Chinese- Western Historical Encounters and Musical Exchanges The Pipe Organ of the Baroque Era in China 21 David Francis Urrows From Colonial Modernity to Global Identity: The Shanghai Municipal Orchestra 49 Hon- Lun Yang Calafati, Sou- Chong, Lang Lang, and Li Wei: Two Hundred Years of “the Chinese” in Austrian Music, Drama, and Film 65 Cornelia Szabó- Knotik Part 2: “Staged” Encounters and Theatrical Representations of Chineseness Eastern Fantasies on Western Stages: Chinese- Themed Operettas and Musical Comedies in Turn- of- the- Last- Century London and New York 87 Michael Saffle The Many Lives ofFlower Drum Song (1957– 2002): Negotiating Chinese American Identity in Print, on Stage, and on Screen 119 James Deaville Deterritorializing Spirituality: Intercultural Encounters in Iron Road 137 Mary Ingraham Revised Pages viii Contents Part 3: Chinese- Western Musical Encounters and Intercultural Compositions Chinese Opera Percussion from Model Opera to Tan Dun 163 Nancy Yunhwa Rao Spanning the Timbral Divide: Insiders, Outsiders, and Novelty in Chinese- Western Fusion Concertos 186 John Winzenburg Combinations of the Familiar and the Strange: Aspects of Asian- Dutch Encounters in Recent Music History 205 Emile Wennekes Part 4: Ideological Encounters and the Reception of Chinese Music and Ensembles in the West The Shanghai Quartet’sChinasong : A Musical Counterpart to English- Language Cultural Revolution Memoirs? 223 Eric Hung Contested Imaginaries of Collective Harmony: The Poetics and Politics of “Silk Road” Nostalgia in China and the West 243 Harm Langenkamp When a Great Nation Emerges: Chinese Music in the World 265 Frederick Lau A Postscript 283 Michael Saffle Bibliography 289 Contributors 311 Index 317 Revised Pages Preface The present volume had its origin in a four- day conference held in Hong Kong, a city often regarded as an East- West melting pot. Entitled “East Meets West: Sino- Western Musical Relations/Intersections/Receptions/ Representations,” the conference took place at Hong Kong Baptist Univer- sity from 16 to 19 April 2009 and was made possible by support provided by that university, its Department of Music, and the Hong Kong Arts Devel- opment Council. Both the conference and this, the volume that it inspired, testify to the efficacy of cross- cultural and interdisciplinary research. The conference itself brought together musicologists, ethnomusicologists, and music theorists from Austria, Belgium, Canada, Hong Kong, Mainland China, the Netherlands, and the United States. These participants sought to explore issues pertinent to East- West musical encounters of many kinds, especially those involving China. The phrasecultural encounters often refers to actual contacts between individuals or groups of people of different origins, ethnicities, or nations. In the present volume, the term encounter refers as well to forms of musical rep- resentation, appropriation, and discourse. Encounters may involve products, not merely exchanges of ideas. The goal of this volume is a holistic approach to the study of Chinese- Western musical relationships, whatever their char- acter or outcome. Inevitably, such an approach must be informed by notions of exoticism, orientalism, globalization, transculturation, and hybridity, but our contributors do not let these notions ignore a host of heterogenic/poly- phonic cross- cultural musical activities across centuries of exchange. In the introductory essay, Hon-L un Yang addresses these and other closely related issues in terms of existing theoretical approaches to the Chinese- Western musical “problem.” Part 1 is devoted to actual encounters between Chinese and European individuals and to the artifacts, instruments, institutions, and compositions that resulted from these encounters. Part 2 examines theatricalized and me- diated encounters involving performances of imagined “exotics” by cultural Revised Pages x Preface insiders as well as outsiders, and for Chinese as well as Western audiences. Part 3 is devoted to musical encounters as manifested in musical languages, sonorities, and subject matters of “intercultural” compositions by composers from East and West. Part 4 is devoted to reception studies and considers ways in which differences are articulated in musical discourse by different actors serving different purposes, whether self- promotion, marketing, or modes of national—which sometimes means propagandistic—expression. Part 1 begins with David Francis Urrows’s study of the pipe organ in China. Urrows opens a window into Sino- Western musical exchanges of the sixteenth, seventeenth, and eighteenth centuries. In addition to facilitating worship, organs functioned as mechanisms of cultural diplomacy and were presented as gifts to several Chinese emperors, to demonstrate what Urrows calls the “curious and wonderful invention from the West.” In his conclu- sion, Urrows notes that China’s positive and open-m inded reception of this Western instrument challenges the myth of an isolationist China intent on rejecting Western culture and technology. Just as the pipe organ was an early icon of Western technology and en- gineering, the symphony orchestra served as a symbol of Western imperial power for both resident and expatriate audiences. Hon-L un Yang’s discus- sion of the Shanghai Municipal Orchestra (SMO), China’s first professional orchestra, offers insights into another phase of Sino- Western interaction. Established in 1881 as a municipal band serving British interests in Shang- hai, the SMO took on a multitude of new meanings and eventually became a metropolitan organization of which Shanghai was and still is proud. As such, the orchestra played an important role in the twentieth- century trans- culturation of Chinese music. Cornelia Szabó- Knotik explores the uncharted territory of Austrian- Chinese musical relations. Her essay considers “Chinese” aspects of a nineteenth- century Viennese amusement park, Prince Sou- Chong as a char- acter in an Austrian operetta, Austria’s reception of Chinese pianist Lang Lang, and the exploitation of the “gifted body” in terms of the Sino- Austrian television movie Mozart in China. Szabó-K notik raises a number of issues pertinent to the nature of cultural encounters, from notions of orientalism and chinoiserie that are associated with the performing arts to recent medi- ated encounters between East and West. Her discussion of Mozart in China unpacks film as a form of nationalist self-r epresentation that, as she puts it, “covertly reasserts colonialist prejudices in favor of Western cultural supe- riority,” revealing the “seemingly banal conclusion” that orientalist attitudes Revised Pages Preface xi remain powerful within the twenty- first century’s “world of technologically sophisticated unawareness.” Part 2 considers “staged” encounters that exploited as well as repositioned Westernized images of a more or less realistically portrayed China. Michael Saffle deals with some two dozen Chinese-t hemed operettas and musical comedies presented during the late nineteenth and early twentieth centuries on London and New York stages. Works considered include Cole Porter’s Anything Goes and the still-fa miliar Chu Chin Chow as well as The Pearl of Pekin, A Trip to Chinatown, and other “lost” productions. Drawing on Bell- man’s argument about both the shortcomings of recent musicological dis- cussions “untethered” from the music they purport to engage,
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